Poetry and Its Double
By Luis Moreno Villamediana
review seems inevitable predators Verbs (London: Equinox / Universidad Simón Bolívar, 2007) as an exercise in reversals and advances. In this context, the word Exercise does not have to do with a desired skill but with sheer flutter: what Jacqueline Goldberg is interested in the complex itinerary, globe and their inaccuracies, and not mere compliance or closure. Read the author's statements at the beginning of the book deal is only one possibility, "because I defend the poem as process, as a look that only from this is able to decipher the last voice, I present my books is based on the most recently hitherto unpublished, completed in 2006 and the title of this volume-to the original, published in 1986 "(14). This walk is unambiguous and perhaps inconvenient, it is based on an equation biased: the poetic and autobiographical gloss. This retrospective elucidation has, however, one advantage: it shows that at all times the personal is unstable. Abide by Jacqueline Goldberg proposed process involves, therefore, a first shock, to disrupt the order of presentation of his books, for whatever reason, and we are told that the chronology is not an absolute value, that genealogy can be admitted only as movable thesis. After such acceptance is not a distemper verbs indicate that predators actually claimed the procedure was called "a system boustrophedon continually appeals to exchange the cover and colophon; finally, it passed.
In this reading project, an imaginary midpoint is as good as any dimension. Of the thirteen books of poetry by Jacqueline Goldberg, Trastienda (1991) is the number seven, of the twenty-five poems of that work, this is the number thirteen: I GET THIRSTY
looking a bit sad maybe a bolero
(247)
numerological superstition is less important here than grammar. Unlike other texts on these lines as soon as it is not default. In the early books of Goldberg, in many cases you may feel that what seems contention is, rather, legerdemain: what is absent is not really a suspicion of confusing and endless universe, but the profession of literature retracted. In the above lines is a narrative: they manage to guess the heartbreak and without hesitation to face the details of a story. There is also a symmetry in the verses and a confrontation of contents at the beginning, the security of desire and distress, then, the hesitation before the remedy. In the final adverb meets a principle of writing.
What can be reviewed after that milestone, in either direction, perhaps confirms some insights. In Luba (1988), the migration path is declared incomplete and her grandmother is a strange Goldberg whose heritage has been truncated. In verbal fragments simultaneously vital and it becomes apparent what it is, with all of its shadow and fear. In Health (2002), the bias is organic: the body is an imperfect machine, disposable, punishable, its decomposition is the best sign of a poetics that resists the simple efficiency or simple beauty. In family Masks (1991), the future is the repetition of the folly and despair, and last, a simulation absurd the moment in the right half is a critical stage, utopia made by the spoof of illusion and nostalgia. What came before is configured as a legend indifferent, what will happen can be a matter for personal revenge, taking the place of its own founding myth. This defines the work of Goldberg predation.
In books such as Autopsy and Verbs predators, both of 2006, the body and its fragility is the origin of "the resonances and babbling." Artaud's expression: with it summarizes some trace elements to the theater as a spectacle of a temptation. The will of Jacqueline Goldberg is no different in the pages of these poems. The anatomy and text are for her fever scene: "Suddenly the mouth of the poet larvae curdles" (21). In several poems, even the title, "Poetics", what we read is just the count of certain cruelty suffered or favored: the ferocity of exile and orphanhood, gloom and repudiation, of the brief poem. These lines are more apparent abundance of all the scores, working with nature while developing and slope. What defines these books is, therefore, the double sign of body and corruption poetry and sublimity. As a good illustration pages Autopsy know how to combine the news story and the Old Testament. The impurity advocated by the ancient wisdom is to compensate for more recent events: on the one hand we read the story of women who lived for several days with the corpse of his brother. In that compromise can be abbreviated temptation, accepted the work of Goldberg.
I think the depth of Verbs predators, both as a single volume collection of books, is that advocacy of literary and somatic hesitation. Somehow, in your space is restored to ruin their educational objectives, the promotion of building energy negative: "Any destruction is touching, even one that sleeps in the trees and devastates the honorable station of lightning", we find a apart from the order of the branches (110). What emerges here is ironically, perhaps the force of his own defection. What Goldberg may have left Jacqueline becomes set: a meticulous plan of what it returns. If you read from cover to cover, if we start from the center and stayed, if we reverse any plan chosen, every time we come to the oxymoron of poetry that is exposed is disappearing, "a rumor in language" (55). For several years now, Jacqueline Goldberg pointed out "the green of annihilation", the fertility of any catastrophe, even their own: have there dignity.
Jacqueline Goldberg's poetic
The title opens the disturbance . Attractive and terrible predators Verbs (Equinox Publishing, University Simón Bolívar / Editorial Boker, 2006), a book of books that gathers all the poetry published by the writer from 1986 to 2006, wants to be seen as the sum of poetry and reached for a poetic tune with the best of this Venezuelan literature. Over and over, poetics and poetry, are in persistence in the pages of this work high tessitura and voracious spirit. The book's title to the book, Verbs predators, the last of the letters and written Finally, he announced the limited metabolism of a poetry that is at the limit of many digestions won a bite of words that devour all the assurances of happiness and cud all their unrelenting despair.
Posted in El Nacional, July 21, 2008
(text book launch, held on July 3, 2007)
By Gina Alessandra Saraceni
A work meeting is not a complete work: Open is a journey that traces "the time of writing" an author, which indicates the crystallization and transformations of this writing, while their faults and promise, of what is waiting to be written.
A work meeting is also an autobiography of himself, of his being in-work and its work done: continuum that does not aspire to an end but the movement and left open the search space of the word, they do a word for a future place unfinished. Verbs
predators (20061986) meets the poetic works of Jacqueline Goldberg from his latest collection of poems which is published here for the first time and gives the title to set up the first written twenty years ago. This is a write your own book Archaeology and invites the reader to take the slow walk of a poetic work through a retrospective movement, reading back that crosses the body of writing from its most recent voice to its first babbling.
recounting his genealogy work and risk to show the continuities, obsessions, findings that weave the fabric of its history book that rewrites itself through an inverted way forward from the present into the past as if to retrace Road construction was a way of looking at itself through a "rear vision" can capture what at the time could not see, so only the future can reveal. Read
Jacqueline Goldberg's work as the reverse path involves tracking the different layers that form the strata that its derivatives have been created, and aims not only to read but also backward read inwards towards the inside of poem, to its body bone is missing, the fault that every poem is trying to say.
back inside, genealogy and archeology form an undecidable simultaneous calls us to enter into this volume to explore the poetic memory of one of the strongest voices and prolific of the new generation of Venezuelan poets.
chronological choosing investment as a way of ordering his poetry, he risks moving backward, to subvert the idea of \u200b\u200bprogress that all work is collected or complete, and propose the retrospection, rewriting, excavation as another way to return to his own poetic memory and look critically . Verbs
predators is also the story of a voice and that voice learns how to speak multiple languages \u200b\u200bthat are articulated in each book of poems for mixing, include, combined, betray. Voice
outsider who experiences different discursive registers, which explores different topics, the origin, the family, the uprooting of bourgeois culture, motherhood, loving relationship, sickness, death, daily life, among others, is not met, saying "I"-although many of the works set out from the first person singular, but you need to assume the debt with the "we" that made it. Voice
declaring at fault and that is built from the lack but no pleasure or delight in her nakedness, existential, cultural, emotional, "does not appeal to lack and" the ultimate weather "to justify their inadequacies and orphans, but rather lies in the incomplete and precarious, as is reluctant to stay, a challenge.
There is no regret or resignation to the uncertainty and the failure to make reality and being, nor frustration at not achieving the fullness of the song. "Groping" is to Goldberg a way of speaking, "wandering", a form of writing ("the wandering is in the poem that rumination unhappy"), "tremor", a way to defy common sense places ("... if you do not shake
not write .... ") The poem is always in step "as well as the poetic self that seeks the roots of his blood to show their dissatisfaction with the family and cultural-heritage-that is. "I start half," says this voice that recognizes the inter-site space and its niche: being "between" things, to inhabit the "between" the language implies a resistance the totalizing narrative that closes on itself with the aim of revealing a truth, also a permanent resistance to a state of satisfaction and fulfillment. Goldberg debunks
traps and rituals that "hold" the individual roles and conventions that make "being" denied, deconstructs, suspicious of certainties and truths that constitute us and our complicity with those beliefs and values \u200b\u200bthat we ensure a place: "In the road of life everything should be denied / to stay", recognizes the inadequacy of language to translate the reality and not surrender to this limit, but rather, it takes to learn to speak another Therefore, every time.
His is a poetic inadequacies and dissatisfaction: here the mother, daughter, granddaughter, lover, writer, women, foreign, will look at themselves with watchful eye, capture the breaking point, the tear that through the building they inhabit, are known for paying an inheritance and try to respond to the responsibility that this legacy requires showing the need to question and assume a critical way.
In this sense, the work of Goldberg interacts closely with other voices of Venezuelan contemporary poetry as Yolanda Pantin, Martha Kornblith, Carmen Green, Beverly Rego Pérez, Gabriela Kizer and draws an unexpected connection with poets as Vicente Gerbasi and Antonia Palacios.
His poetry challenges us from different places and spaces, shows how "writing ameliorates the true findings", how his spots and failures question the transparency of language ("Poems bore / with its morass of final infamy"), how "thirst" and "desert", disease and weather conditions are more critical to gain experience of self and a word with which the subject is named. Verbs approaching predators is then simultaneously read all the poems of Jacqueline Goldberg and read a new book that rewrites the past to give them another life, to show that the "repetition" of the word, returning from a writing his memory there is a finding: find the openness of the past and its works, its potential unprecedented and unexpected that shows how the sense of the poetic word is still true.
Paper Published Literature, El Nacional, July 7, 2007
Verbs predators
Jason Maldonado
In any case and out of the story, the forcefulness with which I mean his work will take turns in various emotions ranging semantic from those produced by exile, to indifference, from death to life fatua, the painful love of a mother: How to explain to the child just come from the flow / that death is a muscle exercised without utensils, says in his poem " Guardian's Office "to the painful love of a woman: IF THERE WILL BE A MAN / one only after / and eternity, says in his book Eve.
Various feelings are covering all the poetry in this anthology Goldberg has the advantage of seeing the intersection of emotion over all the books present, where even the future is an understatement curse / which we gather ourselves, as stated in "Quagmire."
In a book to another the word carried in his poetry is accurate and at no time is hazardous in any his verses. His poetic voice is clear, direct and reiterated in his capacity as speaker voice. One I highly intimate, lonely and remote that it is not surprising, seen from a distance up to grace: I had beautiful breasts / to swing / inflamed as a miracle ... I had / to tell the truth / treasures adverse / no longer strange. Treasures of youth in the recent past are not forgotten and transmutes the sublime essence of his pleasure in sadness, until very recently / dug graves in strategic spots on my skin ... in my fingers / sticks bold / then aged the sad dare / to call the touch.
In the poem "The gift or the bat," the poet says that "the poems drill" and it's just that what Jacqueline Goldberg through her lyrics, is a constant in his work, a drill that makes you think and feel to the delight of the reader. A poem also seems self in its own immanence correspond to what they transmit, as is well noted in the following verses of "Poetics": The rancid is the poem that rumination unhappy. / And the poem, beyond, / beast glazed guess defector, is always in step. Poetry as a passing phase but a footprint Despite the indelible "vidriocidad" and it is just that, the game of words and the verse is in a constant limit, a border that could mean this or that, be happy or sad at the same time be a " Guess deserter "factual or fact.
are many topics that we find in Verbs predators, disease and family, nostalgia and disgust, but certainly all handled with consummate skill in word surprised by the peculiar brevity of a haiku. Jacqueline Goldberg in one of his poems says talk of a / Ashamed ... and that / it sucks, but I do not know what you think when others speak louder than her on her work. The least I can do is reiterate my admiration for the encounter with his poetry and close with one of his poems.
OFTEN SHOULD bathe
to wear
crossed places
by language
say
sudo nightmares
I do not exist
I regret
but I do not regret
Librería Sónica: Marzo del 2009.
http://palabrasyescombros.blogspot.com/2009/03/verbos-predadores.html
De una entrevista a Enrique Vila-Matas
El grupo de Facebook "Leyendo a Enrique Vila- Matas" hizo en 2009 una entrevista en línea al escritor español. Y en ella nombra a varios poetas venezolanos, incluida Goldberg:
G. - understand that you have read and personally known to Venezuelans as Ednodio Quintero writers and Victoria di Stefano. On one occasion has recognized the literary value of his works. I wonder if you have had opportunity to read other current Venezuelan writers and what-have it your opinion, of its jobs?
EVM. Rafael Cadenas, Luis Moreno Villamediana, Antonio López Ortega, Ana Teresa Torres, Alberto Barrera Tyszka, José Balza, Olivar Norberto José, Lidia Salas, Daniel Centeno, Jacqueline Goldberg, Juan Carlos Méndez, Edgar Borges are some of the Venezuelan authors have read with great interest. It was, moreover, a great admirer of Eugenio Montejo. Great poet, no doubt. As great as chains, of course. And as Luis Enrique Belmonte, a young genius. Already disappeared, Oswaldo Trejo, Pedro Berroeta, Adriano González León, were tried and writers who once impressed me literally, for several reasons.
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